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Scan 137
Violin master works and their interpretation, 1925
18 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1CHAPTER XIII.
3CAMILLE SAINT-SAËNS.
5The late Camille Saint-Saëns' Third Concerto in B minor, Op. 61,* of the three he wrote for the violin, has won the greatest measure of general appreciation. It was first played in public by Pablo de Sarasate, in Paris (January 2, 1881); yet it is no work of merely passing interest, associated with the personality of a single great artist, but one included in the repertories of practically all contemporary solo violinists, men and women.
7The First Movement of the Concerto, Allegro non troppo, in 2/2 time, begins almost immediately with a theme vibrant with passion in the highest degree and, according to the composer's direction the non troppo of the tempo-signature should be carefully observed. This non troppo is of the highest importance, for it brings out the heroic-pathetic character innate to the theme, which is enhanced by the accents which occur on nearly every quarter-note, from the beginning until the first orchestral tutti is reached. The composer has done all in his power to make his intentions clear, and this passionate mood remains unchanged and uninterrupted in its moderate movement, until the Tranquillo assai after letter B has been reached. Then we have a four measure preparatory passage, espressivo, in a more quiet tempo:
9278. mf espressivo
11while at the Tranquillo assai:
13Tranquillo assai
15279. p
17* Camille Saint-Saëns, Concerto No. 3, in B minor, Op. 61. Revised and edited by Henry Schradieck Carl Fischer, Inc., New York.
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